Miles Aldridge, ‘Hell... It’s Only Forever (after Miller)’, 2017
Miles Aldridge, ‘Untitled (after Cattelan) #3’, 2016

In case of endearing need for holiday intermission conveniently offered by the few (albeit inherently lazy) days in between Christmas and New Year’s, it just might be the right time to visit exhibition by British photographer Miles Aldridge currently on view at Lindsey Ingram.  Aldridge, whose practice has always been rooted in photography, employes his established skills as he simultaneously pushes the medium past the image; and through somewhat spontaneous project responds on works by Maurizio Cattelan, Harland Miller and Gilbert & George. The resulting work – which quite obviously merges pop-references with those of film-noir has in due time become Aldridge’s forte, however in this instance Aldridge has decided to push the medium of image making towards a more artistic practice of screen- printing.  The resulting work –  part of the (after) Miller series  exhibits the pop-tastic vibrancy of 70’s newspaper supplements that will most certainly take Christmas of one’s mind. 

And so will probably the rest of the exhibition, which according to the artist bloomed out of the collaboration with Catallan in 2016 when Aldridge was asked to stage a photoshoot in Catellan’s ‘Not Afraid of Love’ exhibition at La Monnaie in Paris. The result- naked female figures dominating Catellan’s work appear asserting and irreverent, the effect of glossy C-print reinforcing their dominion through stark contrast and employment of bold colour. Albeit a part of the exhibition – the one dedicated to work after the notoriously established Gilbert & George and their stylistic artifice stands somewhat on its own. If not through the idea, it does so in simply it’s presentation – the narrative is presented in monochrome with partly filled with colour, hinting towards a deeper narrative than what might be perceived on the first glance.

The exhibition is on view until 5th January at Lyndsey Ingram, 20 Bourdon Street, London